ADELAIDE SYMPHONY ORCHESTRA SEASON 2019

MASTER SERIES 4 Winter Fire

June Thu 27, 11.30am Fri 28, 8pm Sat 29, 6.30pm PRESENTING PARTNER Adelaide Town Hall 2 MASTER SERIES 4 Winter Fire

June Conductor/Violin Thu 27, 11.30am Amanda Forsyth Cello Fri 28, 8pm Benjamin Northey Conductor Sat 29, 6.30pm Adelaide Town Hall

Elgar Chanson de matin, Op.15 No.2

Elgar Chanson de nuit, Op.15 No.1

Avner Dorman Double Concerto World Premiere I II — III Pinchas Zukerman Violin Amanda Forsyth Cello Benjamin Northey Conductor

Interval

Tchaikovsky Symphony No.5 in E minor, Op.64 Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse (Allegro moderato) Andante maestoso – Allegro vivace

Duration Live Broadcast This concert runs for approximately 1 hour This concert will be broadcast live on and 45 minutes, including 20 minute interval. ABC Classic.

The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 3 Vincent Ciccarello Managing Director

Welcome to our concert. In recent years, we have been honoured to be a co-commissioning partner of The Adelaide Symphony Orchestra has a new music with various institutions long and proud history of commissioning from around the world. There is a very and presenting new music. We believe practical dimension to this process, that it’s not only incumbent on us but also too, as doing so not only makes the vital to do so, and for a host of reasons. commissioning financially viable but it Humans have always sought to express guarantees that a new piece will be given themselves musically and composers will multiple performances as it is ushered continue to do what they have always into the world. been driven to do – to craft the building This week, you will be witnessing blocks of sound into an expression of the World Premiere of a new double their ideas, emotions and creative vision. concerto by the acclaimed Israeli-born But just as a symphony by Beethoven composer, Avner Dorman, for our Artist in or an orchestral tone poem by Richard Association, Pinchas Zukerman and cellist Strauss is simply ink on paper sitting on Amanda Forsyth. a library shelf until it is performed by The concerto has been jointly living and breathing musicians, these commissioned by the ASO with one new musical creations also need a of the world’s greatest orchestras, the vehicle through which they can be Boston Symphony Orchestra, and the brought to life. National Arts Centre, Ottawa, with And as the different interpretation of which Mr Zukerman has had a long and every Beethoven symphony proves, music distinguished association. itself is a living and breathing thing. The work is not only a celebration of Mr Music is – to quote a hackneyed phrase Zukerman’s 70th birthday but a product – not only a universal language but of the international community of music a global phenomenon. The world of and musicians of which the ASO is a musicians and composers really is a proud member. global village. I hope you enjoy the concert. The ASO will continue to proudly champion the music of Australian composers – as our three-year partnership with Cathy Milliken as Composer in Association attests. But we also want to celebrate our many, varied international artistic relationships and the ASO’s place in the world.

4 Benjamin Northey Conductor

Australian conductor Benjamin Northey is he studied with Leif Segerstam and the Chief Conductor of the Christchurch Atso Almila until 2005. He completed Symphony Orchestra and the Associate his studies at the Stockholm Royal Conductor of the Melbourne Symphony College of Music with Jorma Panula in Orchestra. He has previously held the 2006. In 2009/10, he was chosen as posts of Resident Guest Conductor of the one of three conductors worldwide to Australia Pro Arte Chamber Orchestra participate in the Allianz International (2002-2006) and Principal Conductor Conductor’s Academy with the LPO and of the Melbourne Chamber Orchestra the Philharmonia Orchestra. (2007-2010). With a progressive and diverse approach Northey also appears regularly as a to repertoire, he has collaborated with a guest conductor with all major Australian broad range of artists including Maxim symphony orchestras, Opera Australia Vengerov, Julian Rachlin, Karen Gomyo, (Turandot, L’elisir d’amore, Don Giovanni, Alban Gerhardt, Johannes Moser, Piers Così fan tutte, Carmen), New Zealand Lane, Amy Dickson, Slava Grigoryan & Opera (Sweeney Todd) and State Opera Marc-André Hamelin as well as popular South Australia (La sonnambula, L’elisir artists Tim Minchin, KD Lang, Kate Miller- d’amore, Les contes d’Hoffmann). His Heidke, Barry Humphries, Kurt Elling, international appearances include James Morrison and Tori Amos. concerts with the Philharmonic Northey is highly active in the Orchestra, the Tokyo Philharmonic performance of Australian orchestral Orchestra, the Mozarteum Orchestra music having premiered numerous Salzburg, the Hong Kong Philharmonic, major new works by Brett Dean, the National Symphony Orchestra of Peter Sculthorpe, Elena Kats-Chernin, Colombia, the Malaysian Philharmonic, Matthew Hindson and many others. the New Zealand Symphony, Auckland An Honorary Fellow at the Melbourne Philharmonia and Christchurch Conservatorium of Music, his awards Symphony Orchestras. include the prestigious 2010 Melbourne Northey studied conducting with John Prize Outstanding Musician’s Award Hopkins at the University of Melbourne and the 2002 Brian Stacey Memorial Conservatorium of Music. In 2001, he Scholarship as well as multiple awards was awarded first prize in the Symphony and nominations for his numerous Australia Young Conductor of the Year recordings with ABC Classics. Competition under the direction of Jorma Panula. In 2002, he was accepted as the highest placed applicant to Finland’s prestigious Sibelius Academy where

5 Pinchas Zukerman Conductor/Violin

With a celebrated career encompassing “You could have blindfolded an five decades, Pinchas Zukerman reigns experienced listener, put him in a as one of today’s most sought after and different room where he could scarcely versatile musicians - violin and viola hear the sounds, and he’d still recognize soloist, conductor, and chamber musician. that liquid, Zukerman tone. There is He is renowned as a virtuoso, admired no other like it....His sound is utterly for the expressive lyricism of his playing, imimitable - as it has been for more singular beauty of tone, and impeccable than 30 years - from its intense sweetness musicianship, which can be heard on high to its throaty richness at the throughout his discography of over depths of the instrument....And the 100 albums. molten gold that streams from the instrument is completely breathtaking. The 2018-2019 season marks Mr. Fabulous playing.” Pinchas Zukerman’s tenth season as Principal Guest Conductor of the Royal - The Herald (Glasgow) Philharmonic Orchestra and his fourth as the Adelaide Symphony Orchestra’s Artist-in-Association and includes over 100 concerts worldwide. Highlights of the season include two European tours with the Royal Philharmonic and Rotterdam Philharmonic Orchestras, and concerto appearances with the Philharmonic Orchestra, Pittsburgh, Colorado, New World Symphonies and Gulbenkian Orchestra. Serving as both soloist and conductor, Mr. Zukerman leads the Royal Philharmonic Orchestra, National Arts Centre Orchestra, Toronto and Indianapolis Symphony Orchestras. In chamber music, he travels with the Zukerman Trio and joins the Jerusalem Quartet as guest artist on tour in Chicago, Houston, Atlanta, Vancouver, Berkeley, CA and Ann Arbor, MI.

6 Amanda Forsyth Cello

Principal cello of Canada’s National Arts Brahms’ Double Concerto with Pinchas Centre Orchestra from 1999 to 2015, Zukerman and the National Arts Centre Amanda Forsyth has established an Orchestra, Ottawa. In 2002 she was the international reputation as soloist and subject of the Bravo! Canada television chamber musician. documentary Amanda Rising: The Amanda Forsyth Story. Amanda Forsyth She has toured with the Royal moved to Canada from South Africa as a Philharmonic Orchestra and appeared child. She became a protégé of William with such orchestras as the Orchestre Pleeth in London, and later studied with Radio de France, Lisbon’s Gulbenkian Harvey Shapiro at the Juilliard School. Orchestra, English Chamber Orchestra, She performs on a rare 1699 Italian cello Maggio Musicale Orchestra, Dallas by Carlo Giuseppe Testore. Symphony, Moscow Virtuosi and Mariinsky Theater Orchestra. In 2014 Ms. Forsyth was invited for her first homecoming tour of South Africa performing Malcolm Forsyth’s Elektra Rising among other repertoire. Recent concerts have included playing Victor Herbert’s Cello Concerto with the Israel Philharmonic conducted by Pinchas Zukerman, a cello ensemble concert with Mischa Maisky and others at the Miyazaki Festival, and the Brahms Double Concerto in Seoul with Pinchas Zukerman, the KBS Symphony Orchestra and Yoel Levi. A founding member of the Zukerman Chamber Players, Amanda Forsyth has visited much of Europe and the Middle East. As cellist of the Zukerman Trio, she has performed throughout Europe, Asia, and the US including summer festivals in Edinburgh, Verbier, BBC Proms and Ravinia. Recordings include Schubert’s Trout Quintet with the Zukerman Chamber Players and Yefim Bronfman, and ADELAIDE SYMPHONY ORCHESTRA

Principal Conductor Principal Guest Artist in Association Nicholas Carter Conductor Pinchas Zukerman Mark Wigglesworth

VIOLINS CELLOS HORNS Natsuko Yoshimoto** Simon Cobcroft** Adrian Uren** (Concertmaster) Ewen Bramble~ Sarah Barrett~ Cameron Hill** Sarah Denbigh Emma Gregan (Associate Concertmaster) Sherrilyn Handley Thalia Huston Shirin Lim* (Principal 1st Gemma Phillips Benjamin Messenger Violin) David Sharp Michael Milton** Cameron Waters TRUMPETS (Principal 2nd Violin) Martin Phillipson ** Lachlan Bramble DOUBLE BASSES (Acting Section Principal) ~(Associate Principal 2nd Gregory Frick Violin) David Schilling** Janet Anderson Jonathon Coco~ TROMBONES Ann Axelby Jacky Chang Colin Prichard** Minas Berberyan David Phillips Ian Denbigh Gillian Braithwaite Harley Gray Julia Brittain Belinda Kendall-Smith BASS TROMBONE Nadia Buck Howard Parkinson* Elizabeth Collins FLUTES Jane Collins Geoffrey Collins** TUBA Alison Heike Sabine Daniels Peter Whish-Wilson* Danielle Jaquillard Lisa Gill Zsuzsa Leon TIMPANI Alexis Milton PICCOLO Andrew Penrose* Jennifer Newman Sabine Daniels* Julie Newman PERCUSSION Emma Perkins OBOES Steven Peterka** Alexander Permezel Renae Stavely**(Acting Principal) Jamie Adam Kemeri Spurr Peter Duggan HARP VIOLAS CLARINETS Suzanne Handel* Caleb Wright** In tonight’s program, Dean Newcomb** Sally Boud~ (Guest Adelaide Symphony Associate Principal) Mitchell Berick Orchestra Concertmaster Natsuko Yoshimoto will Martin Butler be playing ‘The Adelaide’ violin. Crafted in Milan in Lesley Cockram BASSOONS ** denotes Section Principal 1753-7 by Giovanni Batista Rosi McGowran Mark Gaydon** Guadagnini. Natsuko is the ~ denotes Associate Jackie Newcomb current custodian of ‘The Carolyn Mooz Principal Adelaide’ which is held in Michael Robertson Leah Stephenson * denotes Principal trust by UKARIA. Cecily Satchell Player

Flowers supplied by

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ASO BOARD OPERATIONS Kate Gould Chair Karen Frost Orchestra Manager Vincent Ciccarello Janet Carey Orchestra Coordinator Geoffrey Collins Bruce Stewart Orchestral Librarian Andrew Daniels Declan Smith Production & Venue Coordinator Elizabeth Davis William Jarman Production & Venue Coordinator Byron Gregory David Leon FRIENDS OF THE ASO EXECUTIVE COMMITTEE Karen Limb Michael Critchley President Andrew Robertson John Pike Past President Hon. David Wotton AM & John Terpelle Vice Presidents EXECUTIVE Judy Birze Treasurer / Public Officer Vincent Ciccarello Managing Director John Gell Membership Secretary Sarah Bleby Director, Commercial & Special Programs Ruth Bloch Secretary Simon Lord Director, Artistic Planning Shivani Marx Director, People & Culture Paola Niscioli Director, Marketing & Development Shelley Woodward Senior Accountant Shecky Kennedy Executive Administrator

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9 Edward Elgar (1857-1934)

Chanson de matin, Op.15 No.2 Chanson de nuit, Op.15 No.1 Chanson de matin (Morning Song), along with its companion Chanson de nuit (Night Song) were originally composed as solos for violin with piano. Elgar’s main instrument was the violin, and he wrote for it idiomatically and with charm. These pieces became two of his most popular. The violin and piano versions were played at Windsor Castle in a concert to celebrate Queen Victoria’s 80th birthday in 1899, and the versions for small orchestra, first performed in 1901 in London under Sir Henry Wood, further spread their fame. It seems that Elgar and his publisher Jaeger (the ‘Nimrod’ of the Enigma Variations) were aiming to produce a couple of straightforward money-earners, which is one reason why the works were given fashionable French titles rather than the original English (Elgar had originally named Chanson de nuit ‘Evensong’). This kind of Elgar is frequently called salon music; but in this case, the term is a description of scale and function rather than a value judgement. Elgar biographer Michael Kennedy describes Chanson de matin as ‘one of The Adelaide Symphony Orchestra first those uniquely Elgarian, fresh-as-dew, performed these pieces in June 1950 bruised innocence pieces, which defy under the direction of Henry Krips, analysis of their extraordinary capacity to move and delight the listener’; and most recently in December 2007 whilst Chanson de nuit, dedicated to F. with David Sharp. Ehrke, a violinist in the Worcestershire Philharmonic, is ‘in the same world as the Adagio of the First Symphony’. Duration: 7 minutes © Symphony Australia

10

Avner Dorman Composer (b. 1975)

Double Concerto outset of the second movement the soloists try again to return to the past. They play a I sweet melody in octaves accompanied by II — a simple Alberti bass, and for a period of time this seems to work. Yet this time, it is III the cello who strays away from the original When I was first approached by Pinchas theme. The soloists no longer appear as Zukerman and Amanda Forsyth to write a a unified group; their conflict leads to an double concerto for them, I was ecstatic. intimate duet. At the conclusion of the I grew up admiring Zukerman’s playing, movement the conflict subsides, and the hearing him at the Israel Philharmonic as soloists seem to find a new way to coexist, often as I could. Hearing the two of them with the orchestra now in support of their play together years later was completely reunification. The third movement is both enchanting. I wanted to write a piece that energetic and expressive, and all voices explored the relationship between the seem to have found a way to cooperate two soloists — not only their instruments. and exist together. The two main themes How do they interact with one another? no longer yearn for the past, now allowing What is the interplay between the soloists a playful interplay between the soloists and the orchestra? How does a modern as a group with the orchestra. Each of day concerto reflect both a long musical the soloists gets the opportunity to shine tradition and our present time? individually, at times with interjecting allusions to the past (quotes and The piece is neo-classical in some aspects. misquotes alike). By the conclusion, this It follows a general fast-slow-fast three nostalgia has passed, and in its place is an movement structure, and there are acknowledgement — a tribute, celebrating contrasting themes in each movement. the relationships, the individuals, and the Each movement develops these themes history of the concerto. throughout the form. The soloists begin the piece almost wistfully, with a certain sense of nostalgia for older concertos. Against Avner Dorman’s Double Concerto that longing for the past, the orchestra was co-commissioned by the pushes for modern rhythms, harmonies, and orchestral colors. Adelaide Symphony Orchestra, Boston Symphony Orchestra and National Arts In the first movement, the soloists oscillate Centre, Ottawa. This performance is between fighting against the orchestra and joining its exciting harmonies and rhythms. the World Premiere. While the orchestra adopts some of the older materials that the soloists present, it ultimately engulfs them with its drive. At the Duration: 20 minutes

12

Pyotr Ilyich Tchaikovsky (1840-1893)

Symphony No.5 in E minor, Op.64 theme does lend itself to a musical personification of grim fate (in its minor Andante – Allegro con anima form) and of beneficent providence (in its Andante cantabile, con alcuna licenza major form), and a journey from the first to the second is a plausible program, if not Valse (Allegro moderato) for the opening movement (which ends in Andante maestoso – Allegro vivace the minor), then for the whole work. After completing his Fourth Symphony The main theme (played at the outset (1877), Tchaikovsky wrote to his former by solo clarinet) also pays homage to pupil Sergey Taneyev: ‘I should be sorry if the man Tchaikovsky called ‘the father symphonies that mean nothing should flow of Russian music’, Mikhail Glinka. He from my pen.’ He insisted that the Fourth borrowed the germinal first eight-note definitely followed a ‘program’, even phrase from Glinka’s opera A Life for the though, like Beethoven’s Fifth Symphony Czar, where it opens the second half on which he had partly modelled the of a melody sung in succession by all work, it could not be expressed in words. three principal characters in the first act Circumstantial evidence suggests that trio. But Tchaikovsky develops Glinka’s Tchaikovsky’s own Fifth Symphony, melodic fragment (first sung to the words composed in summer 1888, likewise could ‘Do not turn to sorrow’) into an entirely not ‘mean nothing’, and even if a precise new motto theme whose subliminal meaning will probably never emerge, transformations and literal reprises bind Tchaikovsky did leave clues as to the the symphony’s four movements together. direction of his thoughts. The first transformation is into the dance- like theme of the Allegro con anima Fate and providence were certainly on announced by clarinet and bassoon. his mind, having in mid-1887 spent two distressing months at the bedside of The horn melody in the second movement a dying friend. Later in his sketchbook is one of the most beautiful in all of he verbally outlined a first movement Tchaikovsky’s music. He actually scribbled whose slow introduction began with on a sketch of this melody (in French): ‘I ‘total submission to fate’, followed by an love you, my love!’ But it is more than just allegro that introduced ‘murmurs, doubts, a love theme; it, too, is subtly related to laments, reproaches’ before considering the motto (of the motto’s first eight notes, succumbing to ‘the embrace of faith’. He it is a varied reworking of the last five). described this as ‘a wonderful program, This connection is made explicit when the if only it can be fulfilled’. Although no undisguised motto returns, portentously irrefutable evidence links this plan directly with trumpets and kettledrums, just before with the 1888 symphony, the Fifth’s main the reprise of the love theme.

14 Tchaikovsky called the third movement a ‘waltz’, a modestly understated example compared with his great ballet waltzes, but one whose easy mood makes it a perfect structural foil to the slow movement’s passionate intensity. It may well be significant that he crafted the tune out of snippets of a Tuscan folksong, called La Pimpinella, that he heard in Florence in 1877, sung by (as he noted) a ‘positively beautiful’ young (male) street-singer. Certainly significant, the waltz tune also audibly echoes the rhythm of the preceding movement’s soulful horn theme, of which it is essentially a faster, lighter reworking. The same rhythm also reappears in the sinuously exotic subsidiary tune introduced by the bassoon. But only once does the motto itself intrude on this pleasant reverie, from clarinets and bassoons, right at the movement’s close. The motto returns fully, in major mode, as a solemn march, introducing the fourth movement, sumptuously scored with all the violins playing down low in unison with the cellos, passing next to the woodwinds, before trumpets and kettledrum signal the imminent Allegro vivace. Tchaikovsky energises the motto’s second, falling-scale element to create a new minor-key theme that launches further transformations and combinations of germinal fragments, underpinned by the quick tick-tock of bassoons, kettledrums and basses, plateauing out on a brilliantly shrill major-key woodwind The Adelaide Symphony Orchestra first chorus. Winding down and then up again through more furious returns of performed Tchaikovsky’s Symphony the minor-key theme, a massive climax No.5 in October 1940 with Bernard builds, breaking back into the now almost Heinze conducting, and most recently unbearably splendid march, the motto’s in February 2015 with Arvo Volmer. apotheosis capped at the last possible moment by a trumpet reprise of the first movement’s Allegro theme. Duration: 50 minutes

15 Support Us Philanthropy makes a difference to everything we do at the ASO. Our donors and sponsors are a highly valued part of the orchestra and integral to our success. Thanks to your generous support, we can continue to share the music, perform the works you love and bring world class performances to South Australia. We invite you to be part of our story.

Vincent Ciccarello Managing Director

Annual Giving Grainger Circle

Our Annual Giving program is the backbone A lasting way to support the ASO is to leave of philanthropy at the ASO, providing a gift to the orchestra in your will. It is a the resources to make our orchestra the unique way to honour your love of music and exceptional ensemble you see on stage the part it has played in your life. each night. If you are leaving a bequest to the ASO, we Donations can be made year round and encourage you to contact us so that we can gifts of any size are welcome, and much thank you for your gift during your lifetime. Of appreciated. There are many ways to course, your bequest can remain anonymous support the orchestra, including joining and we will acknowledge your gift privately. our Conductors’ Circle or Musical Chair In appreciation of your support, you will programs which we acknowledge on the be invited to join our Grainger Circle and following pages. meet like-minded music lovers at events A list of our generous donors can be found throughout the year. on page 20. Please use the contact details below for more details on making a gift.

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A partnership with the ASO is a wonderful For more information please contact: way for businesses to engage with and Donations support live orchestral music in South Alexandra Bassett Australia. We offer unique corporate Donor Relations Manager networking opportunities, brand awareness, 8233 6221 | [email protected] community engagement and education programs, as well as employee and client Corporate Partnerships rewards. Please contact us to find out more Rae O’Connell about the levels and benefits of becoming Corporate Partnerships Manager a Corporate Sponsor. 8233 6231 | [email protected]

16 Philanthropic Partners

We gratefully acknowledge Friends of the Adelaide Symphony Orchestra the support of the following FWH Foundation foundations, trusts and private Lang Foundation ancillary funds, whose generous Thyne Reid Foundation support of the orchestra has Dr Sing Ping Ting been transformative.

Artistic Leadership Team Nicholas Carter Mark Wigglesworth Pinchas Zukerman Principal Conductor Principal Guest Conductor Artist in Association

Supported by Conductors’ Circle donors Graeme & Susan Bethune Diana McLaurin The Friends of the ASO Pauline Menz Anthea Heal Robert Pontifex AM, in memory of Deborah Pontifex Robert Kenrick Andrew & Gayle Robertson Joan Lyons

Cathy Milliken Grace Clifford Composer in Association Emerging Artist in Association Supported by Mary Louise Simpson, Supported by in honour of her mother, Boileau Family Trust Grace Margaret McArthur

17 Musical Chairs

Musical Chair donors form a deeper engagement with the artists performing Concertmaster Associate the music they love. Chair Natsuko Yoshimoto Concertmaster support starts at $2500, Colin Dunsford AM Cameron Hill & Lib Dunsford renewed annually. The Baska Family

Violin Principal 1st Violin Hilary Bruer Principal Cello Shirin Lim John & Jenny Simon Cobcroft Bob Croser Pike An anonymous donor

Principal 2nd Violin Michael Milton Violin The Friends of the Judith Coombe Cello ASO in memory of In memory of Sarah Denbigh Ann Belmont OAM Don Creedy An anonymous donor

Associate Principal 2nd Violin Cello Lachlan Bramble Violin Chris Handley In memory of Danielle Jaquillard Bruce & Pam Deborah Pontifex K & K Palmer Debelle

Violin Violin Cello Janet Anderson Julie Newman Sherrilyn Handley In memory of Graeme & Johanna & Gweneth Willing Susan Bethune Terry McGuirk

Violin Violin Cello Ann Axelby Emma Perkins Gemma Phillips David & Peter & An anonymous Linnett Turner Pamela McKee donor

Principal Viola Cello Violin Caleb Wright David Sharp Minas Berberyan In memory of Dr Aileen F Merry Wickes Mrs JJ Holden Connon AM

Viola Cello Violin Martin Butler Cameron Waters Gillian Braithwaite John & Peter & Mary Dawes BEM Emmanuelle Pratt Pamela McKee Principal Clarinet Bass Dean Newcomb Principal Trumpet Harley Gray Owen Morris Hon David Wotton Bob Croser AM & Jill Wotton David Leon Bass Belinda Kendall- Smith Clarinet Principal Trombone In memory of Darren Skelton Colin Prichard Drs Nandor Ballai & In memory of Keith Andrew & Georgette Straznicky & Susie Langley Barbara Fergusson

Bass Principal David Phillips Bass Clarinet ‘a great bass player Mitchell Berick Trombone with lots of spirit - Nigel Stevenson & Ian Denbigh love Betsy’ Glenn Ball An anonymous donor

Principal Bass Trombone Principal Flute Principal Bassoon Howard Parkinson Geoffrey Collins Mark Gaydon Ian Kowalick AM Pauline Menz Pamela Yule & Helen Kowalick

Flute Principal Tuba Bassoon Lisa Gill Peter Whish-Wilson Leah Stephenson Dr Tom & Ollie Clark AM Liz Ampt Sharron Stubbs & Joan Clark

Principal Contra Principal Piccolo Bassoon Principal Timpani Julia Grenfell Jackie Newcomb Vacant Chris & Norman Etherington Drs Kristine Gebbie Julie Michelmore AM & Peggy Brock & Lester Wight

Principal Percussion Principal Horn Steven Peterka Principal Oboe Adrian Uren The Friends of Vacant Roderick Shire & the ASO in memory Matthew Norton Judy Hargrave of Bev McMahon

Associate Principal Oboe Associate Renae Stavely Principal Horn Sarah Barrett Roderick Shire & Judy Hargrave Margaret Lehmann

Horn Principal Emma Gregan Section Princpal Double Bass Cor Anglais The Richard Wagner David Schilling Peter Duggan Society of South Dr Ben Robinson Australia Inc. Could this be you? ASO Annual Giving The Annual Giving program supports the Adelaide Symphony Orchestra’s main activities and helps keep us on the stage. Thank you to all of our generous donors.

Diamond Patron ($25,000+) Silver Patron ($2,500 - $4,999) The Friends of the Adelaide Symphony Orchestra Liz Ampt FWH Foundation The Baska Family Lang Foundation Vincent & Sandra Ciccarello Peter & Pamela McKee Joan & Ollie Clark AM Diana McLaurin Dr Aileen Connon AM Roger & Helen Salkeld Ruth Creedy Mary Louise Simpson Dr M Crotty Dr Sing Ping Ting Jan & Peter Davis Anonymous (2) Legh & Helen Davis Margaret Davis Mary Dawes BEM Platinum Patron ($10,000 - $24,999) Bruce & Pam Debelle R & M Champion De Crespigny Foundation Norman Etherington AM & Peggy Brock Graeme & Susan Bethune Andrew & Barbara Fergusson Boileau Family Trust Drs Kristine Gebbie & Lester Wright Coopers Brewery Ltd In memory of Keith & Susie Langley Rodney Crewther & Galina Podgoretsky David Leon Colin Dunsford AM & Lib Dunsford David & Ann Matison Anthea Heal Johanna & Terry McGuirk Robert Kenrick Chris & Julie Michelmore Joan Lyons David Minns Pauline Menz K & K Palmer Robert Pontifex AM Christine Perriam Andrew & Gayle Robertson John & Jenny Pike Pamela Yule John & Emmanuelle Pratt Anonymous (1) Dr J B Robinson Nigel Stevenson & Glenn Ball Gold Patron ($5,000 - $9,999) Dr Nora Straznicky Patricia Cohen Dr Tom & Sharron Stubbs Bob Croser The Richard Wagner Society of South Australia Inc Ian Kowalick AM & Helen Kowalick David & Linnett Turner Margaret Lehmann Merry Wickes Hugh & Fiona MacLachlan Dr Betsy Williams David & Pam McKee Dr Richard Willing Perpetual Foundation – The Henry and Patricia Dean Jane Wilson Endowment Fund Hon David Wotton AM & Jill Wotton Linda Sampson Anonymous (1) Norman Schueler OAM & Carol Schueler Roderick Shire & Judy Hargrave Nick Warden Anonymous (3)

20 Maestro Patron David Robinson John Gazley Jill Russell ($1,000 - $2,499) Richard Ryan AO & Trish Joan & Len Gibbins Arnold D Saint AM Neil Arnold Ryan Dr Peter Goldsworthy AM Frank & Judy Sanders A. Prof Margaret Arstall Warren & Margaret & Lisa Temple Robin Sanderson Rob Baillie Scharer Sally Gordon & Gary David Scown Peggy Barker Larry & Maria Scott Smith Gwennyth Shaughnessy Judy Bayly Professor Ivan Shearer Byron Gregory Tony & Cathy Smith AM Prof Andrew & Prof Dieter & Eva Groening Jim & Anne Spiker Beth & John Shepherd Elizabeth Bersten Eleanor Handreck W & H Stacy Dorothy Short The Hon D J & E M Bleby Dr Tony Hobby Katherine Stanley-Murray Nigel Steele Scott Liz Bowen D G W Howard Geoffrey Syme Christopher Stone Gillian Brocklesby Don Howell Verna Symons Anne Sutcliffe In memory of Emeritus Diana Jaquillard John & Annette Terpelle Stephanie Thomson Professor Brian Coghlan Gregory & Lynette Jaunay Lynn & Christine Josephine Cooper Guila Tiver Dr Iwan Jensen Trenorden Graham Crooks Anne Tonkin Rosemary Keane Leonard Turner Tony & Rachel Davidson Jenny & Mark Tummel Bellena Kennedy Dr Robert Waltham Von Davis James W Vale Professor Graeme Koehne Robert Warner Bruce Debelle AO, QC Ann Wells AO & Melinda Parent G C & R Weir Anne Eleanor Dow Dr Richard Willis AM Pat Lescius & Michael Janet Worth McClaren Deborah Down Anonymous (9) Dawn Yeatman Mark Lloyd & Libby Dr Alan Down & The Hon Anonymous (19) Catherine Branson AC Soloist Patron Raupach QC Susan Lonie ($500 - $999) Tutti Patron Sheryn Foord Margaret Lyall Rick Allert AO ($250 - $499) Donald Scott George Don Manifold Dr E Atkinson & J Hardy 116 Donors. A complete Melvyn Madigan Kate Gould Charles & Catherine list of these donors can RJ, LL & SJ Greenslade Bagot Ruth Marshall and Tim be found at aso.com.au/ Peter R Griffiths Barbara Bahlin Muecke aso-donors Donald Growden Liz Baines Lee Mason In memory of Geoffrey John Baker Barbara May Donor Hackett-Jones Lesley Baker Peter McBride ($2 - $249) Daniel & Sue Hains R & SE Bartz Jacqueline McEvoy The ASO would like to Michael & Janet Hayes Ruth Bloch Janet & Ian McLachlan thank the 675 donors Robert Hecker Dianne & Felix Bochner Joanna McLachlan who gave other amounts. Margo Hill-Smith Stephen Bone Rory & Sally Mooney Clayton & Susan Hunt Dr James & M Brooks Dr Craig Mudge AO & Maureen Mudge Alexandra Jarvis Elizabeth & Max Bull Dora Avella-O’Brien Elizabeth Keam AM Rob & Denise Buttrose Dr Kenneth O’Brien Dr Ian Klepper John & Flavia Caporn Christine L Odgers Hon Diana Laidlaw AM Kathleen & Richard Carter Dr Oseka Onuma & Sonja Brett Dixon R Corney Latzel Dr Scott C Y Ma Stephen Courtenay Rosemary and Lew Frank Markus Suzette Crees Owens Bob Maynard Michael Critchley Captain R. S. Pearson, Melissa Bochner Drs Ruth & David Davey CSC & Jan Pearson Skye McGregor Mark de Raad & Adrian Martin Penhale Dr Neil & Fay McIntosh Bennett Donald G Pitt Kerrell & David Morris Duncan Hugh Dean & Josephine M Prosser Judith Peta Fradd Matthew Norton Mark Rinne Fr John Devenport Jocelyn Parsons Drs I C & K F Roberts- Tom F Pearce Kay Dowling Thomson Ann Piper Jane Doyle Teresa Robinson David & Janet Rice Pamela Fiala, in memory Trevor & Tanya Rogers of Jiri Garry Roberts & Lynn David & Anne Rohrsheim Otto Fuchs Correct as at 19 June 2019 Charlesworth Lee Ross-Solomon 21 THANK YOU TO OUR PARTNERS

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